The first North American survey of the artist Beatriz Milhazes (b. 1960, Rio de Janeiro), this exhibition presents paintings, prints, and collages spanning more than three decades. These exuberant works are characterized by their use of strong colors, decorative elements, and complex geometries. In the late 1980s, the artist developed a unique transfer painting technique through which she produces unusual surfaces that give her paintings a prematurely aged appearance. Her practice is informed by diverse sources taken from art history and popular culture, including baroque painting, textiles, European modernism, Latin American geometric abstraction, hippie culture, graffiti, and carnival.

Jardim Botânico is the neighborhood in Rio de Janeiro where Milhazes’s studio is located and is named for the 19th-century botanical garden that forms its center. A botanical garden is considered a place for sensual enjoyment––a romantic site filled with the textures, colors, and scents of its flowers and trees. Concurrently, a botanical garden is a highly ordered and designed space and an area for scientific research and objective observation. Beatriz Milhazes: Jardim Botânico emphasizes how locality and the specific cultural context of Brazil have continually informed Milhazes. The botanical garden form also relates to a particular dichotomy in the artist’s practice: the manner in which she strives to create an immersive sensual experience, while at the same time pursuing a rational and investigative approach to the history of painting.

Beatriz Milhazes: Jardim Botânico is organized by Pérez Art Museum Miami Chief Curator Tobias Ostrander and presented by Itaú. Support is provided by Graff, and in-kind support is provided by Consulate General of Brazil in Miami.

The first North American survey of the artist Beatriz Milhazes (b. 1960, Rio de Janeiro), this exhibition presents paintings, prints, and collages spanning more than three decades. These exuberant works are characterized by their use of strong colors, decorative elements, and complex geometries. In the late 1980s, the artist developed a unique transfer painting technique through which she produces unusual surfaces that give her paintings a prematurely aged appearance. Her practice is informed by diverse sources taken from art history and popular culture, including baroque painting, textiles, European modernism, Latin American geometric abstraction, hippie culture, graffiti, and carnival.

Jardim Botânico is the neighborhood in Rio de Janeiro where Milhazes’s studio is located and is named for the 19th-century botanical garden that forms its center. A botanical garden is considered a place for sensual enjoyment––a romantic site filled with the textures, colors, and scents of its flowers and trees. Concurrently, a botanical garden is a highly ordered and designed space and an area for scientific research and objective observation. Beatriz Milhazes: Jardim Botânico emphasizes how locality and the specific cultural context of Brazil have continually informed Milhazes. The botanical garden form also relates to a particular dichotomy in the artist’s practice: the manner in which she strives to create an immersive sensual experience, while at the same time pursuing a rational and investigative approach to the history of painting.

Beatriz Milhazes: Jardim Botânico is organized by Pérez Art Museum Miami Chief Curator Tobias Ostrander and presented by Itaú. Support is provided by Graff, and in-kind support is provided by Consulate General of Brazil in Miami.

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Floor 2 - Exhibition: M.B. Fernandez Family Gallery I

The first major U.S. retrospective on Brazilian artist Beatriz Milhazes (b. 1960), the exhibition features the artist’s large-scale abstract paintings inspired by Brazilian and European Modernism, Baroque forms, popular culture, and the decorations of Carnival. During the early 1990s, the artist developed an unusual painting technique, in which she adhered separate images executed in acrylic paint—such as flowers, arabesques, lace patterns or peace-signs—onto canvases in a style that references collage, graffiti and plastic decals. This practice results in richly textured surfaces that appear prematurely aged. The exhibition will include works produced over the last 25 years of the artist’s career and examine their evolution from softer, more decorative forms to harder-edged abstraction.

The first major U.S. retrospective on Brazilian artist Beatriz Milhazes (b. 1960), the exhibition features the artist’s large-scale abstract paintings inspired by Brazilian and European Modernism, Baroque forms, popular culture, and the decorations of Carnival. During the early 1990s, the artist developed an unusual painting technique, in which she adhered separate images executed in acrylic paint—such as flowers, arabesques, lace patterns or peace-signs—onto canvases in a style that references collage, graffiti and plastic decals. This practice results in richly textured surfaces that appear prematurely aged. The exhibition will include works produced over the last 25 years of the artist’s career and examine their evolution from softer, more decorative forms to harder-edged abstraction.